Pikkukuvaa napsauttamalla pääset Google Booksiin.
|
Ladataan... Women of Will: Following the Feminine in Shakespeare's PlaysTekijä: Tina Packer
   - Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta.   laplantelibrary | Mar 24, 2022 |   ) nancyjean19 | Jun 3, 2020 | Consider yourselves warned...A rant of epic proportions is about to begin... When I saw the title, I thought ''Oh, this is going to be great!''. When I saw the imposing Ellen Terry front cover, with the goddess of Theatre in Lady Macbeth's famous beetlewing dress, I said ''come to me, you beautiful book, you.'' I dived right into Shakespeare's world, trying to learn more about the development of female roles over the course of his work. Sadly, what I found was a huge pile of problems and a stinking ego. The first blow came early, when the writer referred to ''The Taming of the Shrew''. In my opinion, she has completely misunderstood the meaning of the ending. I believe that Kate decides to answer in irony, hidden in docile words, in order to show to Petruchio that he will never win completely. In my mind, she wants him to understand that he can never be certain whether she is sincerely tamed or not. And there lies the beauty of the play. I think Shakespeare has concluded it in such a way so that the readers can view it openly and interpret either way. Many acclaimed critics have stated this as a possibility, but Packer never states a doubt. The expression in my opinion is totally absent. She promotes her own prejudiced views as being ''canon'', in a pseudo-revolutionary, highly pretentious manner.Her dogmatic tone bothered me deeply and made me doubtful as to what was coming next. And next, she took the theme of male friendship, which is so important to Shakespeare's plays (a concept that the Bard borrowed from Ancient Greece) and drew a comparison to the Paul Newman and Robert Redford films(!) I mean...SERIOUSLY? Show some respect...Her way to refer to Henry II and Eleanor of Aquitaine was to mention the actors who portrayed them in the film adaptation of The Lion in Winter, the famous play by James Goldman. As if there is no chance in the world that the readers will recognise these legendary historical figures, who shaped a large part of the European History, unless they have watched a film. We're talking about the parents of Richard the Lionheart, call me an idealist but I'd like to entertain myself by thinking that the readers who are interested in essays about Shakespearean characters do know a thing or two about History. History, people, not Hollywood... The writer is so opinionated (in a negative way, of course), so boisterous that it becomes tedious, irritating, infuriating. She seems to have convinced herself that she knows what went on in Shakespeare's mind as he was writing the plays (!) She is so certain her view is correct because ''I have read thousands of books on Shakespeare, I have played in and directed all Shakespeare's plays, I founded Shakespeare & Company in Massachusetts...'' There are so many ''I''s and ''Me''s that I had the feeling I was reading about her, not about Shakespeare. Well, you're not Laurence Olivier, you know. Not even he had ever the nerve to claim that he was aware of Shakespeare's thought. I mean, who are you? The Doctor Who of the Mind? For instance, she says she liked to think that Joan of Arc was the first woman he wrote about, because...no reason. Just like that! This has been a rant, it has been a long rant, but I had the need to vent after witnessing Shakespeare being abused in the hands of the writer. I was ready to toss it aside after 50 pages, but I didn't. I was hooked by her -fascinatingly- poor writing and lack of objectivity. I considered it a hunt in order to spot the following outrageous claims.And I stayed up all night to finish it. Well, it was entertaining, I can tell you that. After all, I managed to find the worst book about Shakespeare after 14 years of devouring everything that has to do with the Bard's life and work. And I thought that ''Shakespeare In Love was an ugly, poorly-written (not to mention acted, since she adores Hollywood so much) nightmare...This book deserves no stars, it deserves minus stars, actually. If only I had a raven to cry ''Hold, hold!'' when I started reading it... (  ) AmaliaGavea | Jul 15, 2018 | PaperDollLady | May 11, 2015 | näyttää 4/4 ei arvosteluja | lisää arvostelu
"From one of the country's foremost experts on Shakespeare and theatre arts, actor, director, and master teacher Tina Packer offers an exploration--fierce, funny, fearless--of the women of Shakespeare's plays. A profound, and profoundly illuminating, book that gives us the playwright's changing understanding of the feminine and reveals some of his deepest insights. Packer, with expert grasp and perception, constructs a radically different understanding of power, sexuality, and redemption. Beginning with the early comedies (The Taming of the Shrew, Two Gentlemen of Verona, The Comedy of Errors), Packer shows that Shakespeare wrote the women of these plays as shrews to be tamed or as sweet little things with no definable independent thought, virgins on the pedestal. The women of the histories (the three parts of Henry VI; Richard III) are, Packer shows, much more interesting, beginning with Joan of Arc, possibly the first woman character Shakespeare ever created. In her opening scene, she's wonderfully alive--a virgin, true, sent from heaven, a country girl going to lead men bravely into battle, the kind of girl Shakespeare could have known and loved in Stratford. Her independent resolution collapses within a few scenes, as Shakespeare himself suddenly turns against her, and she yields to the common caricature of his culture and becomes Joan the Enemy, the Warrior Woman, the witch; a woman to be feared and destroyed ... As Packer turns her attention to the extraordinary Juliet, the author perceives a large shift. Suddenly Shakespeare's women have depth of character, motivation, understanding of life more than equal to that of the men; once Juliet has led the way, the plays are never the same again. As Shakespeare ceases to write about women as predictable caricatures and starts writing them from the inside, embodying their voices, his women become as dimensional, spirited, spiritual, active, and sexual as any of his male characters. Juliet is just as passionately in love as Romeo--risking everything, initiating marriage, getting into bed, fighting courageously when her parents threaten to disown her--and just as brave in facing death when she discovers Romeo is dead. And, wondering if Shakespeare himself fell in love (Packer considers with whom, and what she may have been like), the author observes that from Juliet on, Shakespeare writes the women as if he were a woman, giving them desires, needs, ambition, insight. Women of Will follows Shakespeare's development as a human being, from youth to enlightened maturity, exploring the spiritual journey he undertook. Packer shows that Shakespeare's imagination, mirrored and revealed in his female characters, develops and deepens until finally the women, his creative knowledge, and a sense of a larger spiritual good come together in the late plays, making clear that when women and men are equal in status and sexual passion, they can--and do--change the world."--Jacket. Kirjastojen kuvailuja ei löytynyt. |
Current Discussions-Suosituimmat kansikuvat
 Google Books — Ladataan...LajityypitMelvil Decimal System (DDC)822.3Literature English & Old English literatures English drama Elizabethan 1558-1625Kongressin kirjaston luokitusArvio (tähdet)Keskiarvo: (3.6)
Oletko sinä tämä henkilö? |
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
1